51m0n

Hey, check out this review on TB. The guy is using a Heil pR-40 for live db (using an improvised mount as I described above) [url="http://www.talkbass.com/forum/showthread.php?t=329316"]PR-40 review[/url] Looking at it, I think that he has a newer stubbier version of it than I've used though...

IMO as an absolute minimum 300w and a 2x12 enclosure Better get 500w and use it for 'proper' gigs too.

Trouble with that DPA4099 (for me) is that it is highly specialised toward DB. Too highly specialised for a mic over £400 IMO. For that money I want a far more generalised tool, something that isnt just OK on a lot of stuff or imparting a specific character to the thing it is aimed at. Put it this way, if I want a kick mic I could go for a D112 or maybe a PR-68, or a D6, or a PR-40. But the D112 has a really overt signature, the 68 has a signature too, but to my ears its less obvious, the PR-40 doesnt have the same thing at all, it has massive low end and high end extension but it isnt eq'ed like a kick mic, its fairly flat comp[aratively, and it sounds like that too, so I am free to add the right eq to the instument in question, rather than being forced to stick with the 'sounds great on most kicks' eq built in to a D112. Particularly in the case of instruments as variable as DBs are I think a specialised mic rather than a simply excellent mic with a wide frequency range is potentially a big big mistake. Thats just my opinion though!

That looks like a top bit of kit Endorka!

Yes mic buying is expoensive, I try to offset the cost by buying mics that are proven in multiple applications, and considered very good value for money. Hence the Cascades and Heil mics (the Heil PR28 is THE best snare/tom mic I've ever heard, and does a pretty good job on brass and any other percussion too). I love the HEil mics generally to be honest, everything I've heard has been exceptional for a dynamic....

Only ask about your soldering as products like this:- [url="http://www.seventhcircleaudio.com/"]Seventh Circle Audio[/url] exist which can give you extremely good value for money preamps, if you can do some decent DIY soldering.

ANother question - how's your soldering?

Oh mate, positioning a mic for DB is tricky, and the PR-40 is (like an Electrovoice RE20) a big front address mic. However its just about the best mic I've heard for kick drum, and gets huge respect also for db on talkbass too. The big question is, are you on your own in a good iso booth situation (in which case the world is your oyster) or are you plaing with the ensemble in the same room (in which case it all gets trickier!)?? If you are on your own, then get someone to play the instrument for you and literally walk aound the room listening from one ear, close or far from the abss, find the spot where it really sings to you th best. That could be 6 inches from the neck, or 6 feet. It depends on the bass/player/strings/technique/room. Once you are happy, then put the mic there. Most basses sound best a good few feet away - the sound is from the entire instrument - not any one part! Get the mic too close and you dont hear the whole thing, and the sound is ten unbalanced as a result (too much string, not enough depth, not quite the woodiness you know the instrument has in the room etc etc). If you are in situation two then you have a differnt set of issues (can we say spillage?), again though you need to get somone to play your bass and then you listen to it from all different points, but up close, try and stay within 1ft to 6 inches from it. Popular places (for various reasons) are up under the bridge, by an f whole, but pointing to the bridge or soundpost, over the neck (gets a lot of finger/string sound usually), right at the bottom of the bass pointing up at the bridge. But pay attention to the rest of the ensemble, and learn about polar patterns and how you can use them to help combat the spill from the rest of the band. Another popular trick (which does work with the PR-40 apparently) is to fabricate a suspension system to hold the mic off under the bridge pointing up at the nck - bungee cord is good! That way moving the bass doesnt make as big a difference to the sound Really no two of the damn things are the same! The PR-40 is a pretty expensive dynamic mic mate (around £400) but, its simply the best kick mic I've ever heard (better than a lot of LDC condensers I've heard in th same place costing up to 4 times as much IME) and is also a superb vocal mic (really unlike a normal condenso, this mic extends way up the frquency spectrum - it was designed as a top quality broadcast mic first and foremost - it again compares in quality to some of the best condenser vocal mics IME). It gives unbelievable value in this way. If I were you I'd get a stereo pair of [url="http://www.cascademicrophones.com/cascade_FAT_HEAD_II_Stereo_PK.html"]Cascade FatHead 2's[/url] with the Lundahl transformer. They make superb room mics (the M/S stereo capture is magic!) great evocative smooth vocal mics, and are just AWESOME on guitar. Another brilliant mic I've had fantastic results from!!!! That s the exact config I've used, and it is realy something special.

Heil PR-40 mic, & a decent very clean pre amp (FMR RNP is very good value). Oh and a really well sorted room to record in is a must!

With my sa450 I start flat, turn it up to the required volume and then tweak a tiny bit, I have not got the VPF past 9 O'clock, its just way too much for me, then VLE really does help to tame the treble boost from the VPF, leaving a scoop to the mids and a bit of a bass boost. Thing is though, that with the sa450 the extra sweep on the eq means I tend to use the eq more than the filters. As little as possible though....

[quote name='Faithless' post='935836' date='Aug 25 2010, 12:14 PM']That HB thing doesn't look very reliable for me..[/quote] On what basis do you come up with that?????? Most (if not all) the D class amps apparently use stock parts anyway (ie the entire poweramp sections are actually the same modules bought from the same manufacturer). That would be a lot of the reason why all the manufacturers suddenly produce amps that do 1200w at the same time etc etc... Given that this is probably using similar tech, if not the same part for the amp section I would think it is probably likely to be as reliable as any of the rest. The preamp on the other hand could sound rubbish. Of course I might be wrong, but I cant tell from a picture and a look at the spec any more than you can!

[quote name='xgsjx' post='935470' date='Aug 24 2010, 10:32 PM']Never played one, but this looks like a serious contender to me... Ritter Roya[/quote] That is properly pornographic and no mistake, mind you I'd feel a bit of a t*t getting it out for a jam at the dog'n'duck

FloorQ is made by [url="http://www.joemeek.com/"]Joe Meek[/url]

[quote name='voxpop' post='934992' date='Aug 24 2010, 04:48 PM']Im looking for a pedal, must be dirty and squashy........not clean.[/quote] Seriously try and get a go on a floorQ, its the same comp as in a twinQ, and I've done a lot of recording with one of them, it can squish really hard, pumps nicely if you push it....

Pedal? A Joe Meek FloorQ Rack? A Joe Meek SixQ Its the same compressor, but different case (SixQ is a full preamp actually) Really squashy, absolutely ace mate!

Bit surprised that no one has mentioned the Zon Sonus yet..... (or the Hyperbass - ducks for cover!)

Whatever you do, spend a good while trawling through this forum. [url="http://www.gearslutz.com/board/studio-construction-acoustics/"]http://www.gearslutz.com/board/studio-cons...tion-acoustics/[/url] Especially the stuff on bass trapping and absorption for the live room and the control room too. There is a mass of really really good info on that forum (not without its crud though I'm afraid), serious bass trapping is a must in any smaller space, and getting the room treated as well as possible will make recording far easier and mixes far more likely to translate, regardless of your monitoring solution. Cant stress this enough! If you need a little encouragement check these two build diaries out (droolage):- [url="http://www.gearslutz.com/board/photo-diaries-recording-studio-construction-projects/161575-manifold-recording-studio-construction-thread.html"]Manifold[/url] [url="http://www.gearslutz.com/board/photo-diaries-recording-studio-construction-projects/341598-bridge-recording-studio-build.html"]Bridge[/url] Enjoy!

Hartke LH500 for the amp, try and source a second hand Barefaced Compact maybe?

Fields of the Nephilim - The Nephilim Cracking bit of old school goth nonsense

Don't know what to say that hasnt been said before, deeply saddened to hear about this, my sincerest condolences to you Ros, and all Si's family and friends...

The slapping was OK, kinda repetitive - but pretty good for his age, yes I've heard others this age manage that kind of thing - but the solo at the end was pretty fine wasn't it!

Re: Speaker stands:- I've had blinding result bolting up to three concrete breezeblocks together with coach bolts, costs less than £10 ea. if you look around, weighs as much as a neutron star and looks cool in an industrial way, or really really cool if you spray them black (but that costs a bit more)

Nice one!

[quote name='Ou7shined' post='931115' date='Aug 20 2010, 04:42 PM']Thanks. It makes me cringe too. However as I said (shouted actually) in post #1, I ain't a singer and this version was only an "audio-sketch" for the guitarist to learn from. But if that's your only critique then I guess I can live with that. I'd be upset if you thought the bass playing was gash [/quote] Hmmm Reaper does have an autotune VST built in you know..... ReaTune IIRC

[quote name='Ou7shined' post='931103' date='Aug 20 2010, 04:29 PM']Neat tip. I'll check that out. [/quote] Another variation is to go out the room and listen from next door Another variation is to listen on many systems The best solution is to get a really good monitoring package, and acoustically treat your mix room properly (doesn't actually have to be as expensive as you think to do this) and listen to a lot of music on that system in that space, then do the above too Finally send your finished mix to be professionally mastered! I know this is an expensive choice but if it is an important mix it really can make an massive difference....